Director: Thea Sharrock
Book: Alexander Dinelaris
Based on the smash-hit 1992 Warner Bros. film, The Bodyguard the Musical arrives at the Edinburgh Playhouse with all the blockbusting scale and vocal pyrotechnics audiences expect. Centred on superstar Rachel Marron and the stoic former Secret Service agent hired to protect her from a sinister stalker, the production effortlessly bridges the gap between Hollywood thriller and high-energy stadium concert.
Sidonie Smith steps into the spotlight as Rachel and possesses absolute star quality. She commands the stage with the effortless charisma of a real-world icon. This is vital, as the production relies heavily on diegetic performances, treating the audience to full-throttle concert numbers where Smith completely shines. Opposite her, Adam Garcia is a magnetic Frank Farmer. Entirely charismatic and grounded, Garcia ensures the audience is fully rooting for him—and, crucially, the romantic tension that builds between the bodyguard and his client.
The emotional anchor of the production often rests with Sasha Monique as Nicki Marron. Monique has the auditorium in the palm of her hand, delivering a genuinely moving performance that captures the heartbreak of a love she cannot claim. At the opposite end of the spectrum, James-Lee Harris is chilling as The Stalker, anchoring the show’s thriller elements with genuinely spine-tingling scenes that keep the audience on edge.
Visually, Tim Hatley’s set design is a triumph of grand simplicity, sweeping the action from a roaring, massive concert arena to the foreboding claustrophobia of a guarded mansion in a single movement. This current 2026 iteration leans into video projection designed by Duncan McLean, a creative choice that works beautifully to inject a slick, cinematic feel into the storytelling.
Boasting one of the finest jukebox scores—including Queen of the Night, I Wanna Dance with Somebody, and I Will Always Love You—the evening is undeniably at its best when the music takes centre stage. When the songs are occasionally deployed as internal monologues to drive the plot, the narrative engine stalls ever so slightly, but these moments are fleeting. Driven by electric energy, the production delivers exactly what the enthusiastic Playhouse crowd came for: a spectacular night of powerhouse vocals and pure entertainment.
Runs until 23 May 2026 | Image: Paul Coltas
